Caramoor’s 2018 Summer Season comes to a close with Orchestra of St. Luke’s led by Principal Conductor Bernard Labadie and the inimitable mezzo-soprano Susan Graham. Performing selections from the roles that brought her renown, the first half of the program feature selections from Handel’s Ariodante and Alcinia followed by Mozart’s Le Nozze di Figaro and La Clemenza di Tito. Join us in celebrating a summer full of music and be sure to come early for a pre-concert lecture with Bernard Labadie.
Orchestra of St. Luke’s
Bernard Labadie, Principal Conductor Designate
Susan Graham, mezzo-soprano
Handel Overture, Gavotte, and Bourrée from Ariodante
Handel “Dopo notte” from Ariodante
Handel “Scherza infida” from Ariodante
Handel Overture to Alcina
Handel “Sta nell’ Ircana” from Alcina
— Intermission —
Mozart Overture to Le Nozze di Figaro
Mozart “Non so più” from Le Nozze di Figaro
Mozart “Voi che sapete” from Le Nozze di Figaro
Mozart Symphony No. 36 “Linz”
Mozart “Deh per questo” from La Clemenza di Tito
3:00 pm Pre-concert conversation with Bernard Labadie
Complimentary Garden Listening Tickets for Members at the Family Level and above
Bernard Labadie, conductor
Bernard Labadie has established himself worldwide as one of the preeminent conductors of the Baroque and Classical repertoire, a reputation closely tied to his work with Les Violons du Roy (for which he served as Music Director from its inception until 2016) and La Chapelle de Québec. With these two ensembles, he has regularly toured Canada, the US, and Europe, in major venues and festivals such as Carnegie Hall, Avery Fisher Hall, Walt Disney Concert Hall, Kennedy Center, The Barbican, The Concertgebouw, and the Salzburg Festival, among others. He begins a four-year term as Principal Conductor of the Orchestra of St. Luke’s in the 2018-19 season.
In 2017-18 Maestro Labadie leads the Orchestra of St. Luke’s at Carnegie Hall as its designated principal conductor. Also in 2017-18, he is guest conductor of the Baltimore Symphony Orchestra, the Minnesota Orchestra, the Cleveland Orchestra, the St. Louis Symphony, the Toronto Symphony Orchestra, and the National Arts Centre Orchestra (Ottawa). Internationally, his season includes conducting the Frankfurt Radio Symphony Orchestra, L’Orchestre Philharmonique de Radio France, Orchestre National de Lyon, the Finnish Radio Orchestra, the Akademie für Alte Musik Berlin (in Hamburg), the Academy of Ancient Music (London), and Rundfunk-Sinfonieorchester Berlin.
Since his triumphant debut with the Minnesota Orchestra, Labadie has become a regular presence on the podiums of the major North American orchestras, including the Atlanta, Chicago, Detroit, and Toronto symphony orchestras; the Boston, Colorado, Houston, St. Louis, and San Francisco symphonies; the Cleveland and Philadelphia orchestras; the Los Angeles and New York philharmonics; the Handel & Haydn Society; and L’Orchestre Symphonique de Montréal.
International audiences in past seasons have seen and heard Maestro Labadie conduct the Bayerischen Rundfunks Symphony Orchestra, Orchestre Nationale de France, Academy of Ancient Music, Orchestra of the Age of Enlightenment, BBC Royal Scottish National Orchestra, Melbourne Symphony Orchestra, Orchestra of the Collegium Vocale Ghent, Royal Concertgebouw Orchestra, Royal Northern Sinfonia, Swedish Chamber Orchestra, WDR Sinfonieorchester (Cologne), and Zurich Chamber Orchestra.
On the opera podium, Maestro Labadie has served tenures as artistic director of L’Opéra de Québec and L’Opéra de Montréal. He made his Metropolitan Opera debut with Mozart’s Die Zauberflöte, a work which he also led at the Cincinnati Opera. Other operatic highlights include Handel’s Orlando with Glimmerglass Opera, Mozart’s Così fan tutte at the Mostly Mozart Festival, Mozart’s Lucio Silla with Santa Fe Opera, and concert versions of Handel’s Theodora and Samson. In 2017 he made his long-awaited debut with the Canadian Opera Company, conducting Die Zauberflöte.
Bernard Labadie’s extensive discography includes many critically acclaimed recordings on Dorian, ATMA, and Virgin Classics labels, including Handel’s Apollo e Dafne and a collaborative recording of Mozart’s Requiem with Les Violons du Roy and La Chapelle de Québec, both of which received Canada’s Juno Award. Other recordings include C.P.E. Bach’s complete cello concertos with Truls Mørk and Les Violons du Roy; J.S. Bach’s complete piano concertos with Alexandre Tharaud, both on Virgin Classics; and Haydn’s piano concertos with Marc-Andre Hamelin as soloist, released by Hyperion.
In 2016, Bernard Labadie received the Samuel de Champlain award in Paris. The Canadian government appointed him as an “Officer of the Order of Canada” in 2005, and his home province named him a “Chevalier de l’Ordre National du Québec” in 2006.
Susan Graham, mezzo-soprano
Susan Graham — hailed as “an artist to treasure” by The New York Times — rose to the highest echelon of international performers within just a few years of her professional debut, mastering an astonishing range of repertoire and genres along the way. Her operatic roles span four centuries, from Monteverdi’s Poppea to Sister Helen Prejean in Jake Heggie’s Dead Man Walking, which was written especially for her. A familiar face at New York’s Metropolitan Opera, she also maintains a strong international presence at such key venues as Paris’ Théâtre du Châtelet, the Sydney Opera House, Santa Fe Opera, and the Hollywood Bowl. She won a Grammy Award for her collection of Ives songs, and her recital repertoire is so broad that 14 composers from Purcell to Sondheim are represented on her most recent Onyx album, Virgins, Vixens & Viragos. This distinctly American artist has also been recognized throughout her career as one of the foremost exponents of French vocal music. Although a native of Texas, she was awarded the French government’s prestigious “Chevalier de la Légion d’Honneur,” both for her popularity as a performer in France and in honor of her commitment to French music.
To launch the 2017-18 season, Graham sings Berlioz’s La damnation de Faust with the Boston Symphony under Charles Dutoit. After reprising her star turn in the title role of Susan Stroman’s take on Lehár’s The Merry Widow at the Met, she joins Nathan Gunn for Bernstein’s Trouble in Tahiti at Lyric Opera of Chicago, in a special production to mark the composer’s 100th birthday. To conclude the operatic season, she makes her title role debut opposite James Morris in Marc Blitzstein’s 1948 opera Regina at Opera Theatre of Saint Louis. Back at the Boston Symphony, she joins Andris Nelsons for Mahler’s Third Symphony, which is also the vehicle for her summer collaborations with the orchestra at Tanglewood and in Europe. Besides reuniting with Dutoit for Ravel’s Shéhérazade at the San Francisco Symphony, she graces a gala concert to celebrate Tulsa Opera’s 70th anniversary and gives solo recitals at Atlanta’s Emory University and the Washington University in St. Louis.
Last season, Graham partnered Renée Fleming for the San Francisco Symphony’s opening-night gala, and joined Anna Netrebko, Plácido Domingo, and a host of other luminaries to celebrate the Metropolitan Opera’s five decades at its Lincoln Center home. Having created the role of Sister Helen Prejean in the world premiere production of Dead Man Walking, she starred in Washington National Opera’s revival of the opera, making her triumphant role debut as the convict’s mother. She returned to Santa Fe Opera as Prince Orlofsky in a new production of Johann Strauss II’s Die Fledermaus, and reprised her signature portrayal of Dido in Berlioz’s Les Troyens at Chicago’s Lyric Opera. Her concert highlights included selections from Mahler’s Des Knaben Wunderhorn at Carnegie Hall and from Canteloube’s Chants d’Auvergne with the Philadelphia Orchestra, as well as a star-studded Der Rosenkavalier at the Boston Symphony. She gave U.S. recitals of “Frauenliebe und-leben Variations,” her program inspired by the Schumann song cycle, and expanded her discography with Nonesuch Records’ DVD/Blu-ray release of William Kentridge’s new treatment of Berg’s Lulu, which captures her celebrated role debut as Countess Geschwitz at the Met.
Graham’s earliest operatic successes were in such trouser roles as Cherubino in Mozart’s Le nozze di Figaro. Her technical expertise soon brought mastery of Mozart’s more virtuosic roles, like Sesto in La clemenza di Tito, Idamante in Idomeneo, and Cecilio in Lucio Silla, as well as the title roles of Handel’s Ariodante and Xerxes. She went on to triumph in two iconic Richard Strauss mezzo roles, Octavian in Der Rosenkavalier and the Composer in Ariadne auf Naxos. These brought her to prominence on all the world’s major opera stages, including the Met, Lyric Opera of Chicago, San Francisco Opera, Covent Garden, Paris Opera, La Scala, Bavarian State Opera, Vienna State Opera, and the Salzburg Festival, among many others. In addition to creating the role of Sister Helen Prejean at San Francisco Opera, she sang the leading ladies in the Met’s world premieres of John Harbison’s The Great Gatsby and Tobias Picker’s An American Tragedy, and made her Dallas Opera debut as Tina in a new production of The Aspern Papers by Dominick Argento. As Houston Grand Opera’s Lynn Wyatt Great Artist, she starred as Prince Orlofsky in the company’s first staging of Die Fledermaus in 30 years, before heading an all-star cast as Sycorax in the Met’s Baroque pastiche The Enchanted Island and making her rapturously received musical theater debut in a new production of Rodgers & Hammerstein’s The King and I at the Théâtre du Châtelet in Paris.
It was in an early Lyon production of Berlioz’s Béatrice et Bénédict that Graham scored particular raves from the international press, and a triumph in the title role of Massenet’s Chérubin at Covent Garden sealed her operatic stardom. Further invitations to collaborate on French music were forthcoming from many of its preeminent conductors, including Sir Colin Davis, Charles Dutoit, James Levine, and Seiji Ozawa. New productions of Gluck’s Iphigénie en Tauride, Berlioz’s La damnation de Faust, and Massenet’s Werther were mounted for the mezzo in New York, London, Paris, Chicago, San Francisco, and beyond. She recently made title role debuts in Offenbach’s comic masterpieces La belle Hélène and The Grand Duchess of Gerolstein at Santa Fe Opera, as well as proving herself the standout star of the Met’s star-studded revival of Les Troyens, which was broadcast live to cinema audiences worldwide in the company’s celebrated “Live in HD” series. Graham’s affinity for French repertoire has not been limited to the opera stage, also serving as the foundation for her extensive concert and recital career. Such great cantatas and symphonic song cycles as Berlioz’s La mort de Cléopâtre and Les nuits d’été, Ravel’s Shéhérazade, and Chausson’s Poème de l’amour et de la mer provide opportunities for collaborations with the world’s leading orchestras, and she makes regular appearances with the New York Philharmonic, Boston Symphony, Orchestre de Paris, and London Symphony Orchestra.
Graham’s distinguished discography features all the works described above, as well as a series of lauded solo albums, including Un frisson français, a program of French song recorded with pianist Malcolm Martineau for Onyx; C’est ça la vie, c’est ça l’amour!, an album of 20th-century operetta rarities on Erato; and La Belle Époque, an award-winning collection of songs by Reynaldo Hahn with pianist Roger Vignoles, from Sony Classical. Among the mezzo’s numerous honors are Musical America‘s Vocalist of the Year and an Opera News Award, while Gramophone magazine has dubbed her “America’s favorite mezzo.”
Orchestra of St. Luke’s
Caramoor’s orchestra-in-residence began in 1974 as a group of virtuoso musicians performing chamber music concerts at Greenwich Village’s Church of St. Luke in the Fields. Now in its 43rd season, the Orchestra performs diverse musical genres at New York’s major concert venues, and has collaborated with artists ranging from Renée Fleming and Joshua Bell to Bono and Metallica. In the fall of 2018, internationally celebrated expert in 18th-Century music, Bernard Labadie, will join the Orchestra as Principal Conductor, continuing the Orchestra’s long tradition of working with proponents of historical performance practice.
OSL’s signature programming includes a subscription series presented by Carnegie Hall, now in its 31st season; an annual multi-week collaboration with Paul Taylor American Modern Dance at Lincoln Center; an annual summer residency at Caramoor Center for Music and the Arts; and a chamber music festival featuring appearances at The Morgan Library & Museum, the Brooklyn Museum, and Merkin Concert Hall at Kaufman Music Center. The Orchestra has participated in 118 recordings, four of which have won Grammy Awards, has commissioned more than 50 new works, and has given more than 175 world, U.S., and New York City premieres.
Nearly half of OSL’s performances each year are presented free of charge through its education and community programs, reaching over 10,000 New York City public school students. Additionally, OSL provides free instrumental coaching and presents student performances through its Youth Orchestra of St. Luke’s and its Mentorship Program for Pre-Professional Musicians.
OSL built and operates The DiMenna Center for Classical Music in Hell’s Kitchen, New York City’s only rehearsal, recording, education, and performance space expressly dedicated to classical music. The DiMenna Center serves more than 500 ensembles and more than 30,000 musicians each year.
Thursday June 28 7:00pm
Saturday June 30 8:00pm
Friday July 13 7:00pm
Sunday July 22 4:00pm
Thursday July 26 7:00pm